In this chapter, you will learn about the notation specific to the guitar in addition
to the notation of rhythm, tempo, time signatures and structure. First, notation that is unique to the guitar
includes the following symbols:

Generally, guitar music publishers make efforts to ease the task of reading the sheet
notation. They do this with the addition of symbols and letters on the sheet notation. Fretting finger
numbers are used to specify the desired choice of fingers for your fretting hand, 1=index, 2=middle, 3=ring, 4=small
finger. When notes are not played in their open or lowest position, string numbers are sometimes supplied,
1=highest pitched string, 6=lowest pitched string. Plucking hand fingers are sometimes supplied, p= pulgar
(or thumb), i=index, m=middle, a=annular (or ring) and sometimes for Flamenco rasgueados, you will see x, e, or
s, all three of which represent the smallest finger on your plucking hand. Bar chords are usually signified
by a large "C" followed by the Roman Numeral representing the fret at which you index finger will be
placed. Sometimes only a position number is present meaning that the notes generally will be played in
that hand position. Slurs on the guitar are known as hammer on and pull off.
Another type of slur is known as the slide.

Rhythm notation is created by altering the appearance of notes to indicate the relative
duration that these notes occupy within a musical composition. Conversely, rests describe the relative
length of silence. The names of the different notes and rests are derived from their fractional value of what
is considered a beat. We will describe beat later in this chapter.

All rhythm values can be constructed from two rhythm values of half the duration.

It is common for smaller valued notes to be grouped together via beams. Rests
are never beamed.

Notes and rests can be attended by a small dot, appearing just to the right of
the rhythmic element. This increases the duration of the note or rest by one half.

The duration of notes can also be increased by the use of ties. When tied together,
the following notes are held for the duration of the second note as well. Rests are never tied together.

The notation presented above fits into a framework of timing that defines the duration
of a beat. A note by itself does not convey any true measure of timing without being related to a beat.
The beat in the music what we tap our feet to or clap our hands to. The beat is regular, so that notes can be
played at the correct times.

The speed that we play the beat at is known as the tempo. Beats are grouped into
measures which are delineated by bar lines. Beats within the music are not always played at the
same loudness. Certain beats are generally played slightly louder, depending on the meter.

The individual beats within measures are generally counted and accented as follows (number
of beats in the measure is listed first followed by the counting):

2

ONE

two

ONE

two

3

ONE

two

three

ONE

two

three

4

ONE

two

three

four

ONE

two

three

four

6

ONE

two

three

four

five

six

ONE

two

three

four

five

six

For measures containing 4 beats, beat three is usually accented, but not
as strongly as beat ONE. The same is true of beat four in measures containing 6 beats.

Time signatures represent the number of beats in the measure and the duration of
a note which represents one beat. The first time signature below, 2/4 signifies that there are 2 beats per measure
and that the "4" note (1/4) or quarter note, is equivalent to one beat. The second time signature 3/2
signifies that there are 3 beats per measure and that a "2" note (1/2) half note is equivalent to one
beat. The final time signature 4/8 signifies that there are 4 beats per measure, and an "8" note (1/8)
eighth note is equivalent to one beat.

The notes in the above figures are usually divided further by halves. This is termed
simple time. Other time signatures divide their beats by thirds, these time signatures are termed compound
time signatures. The following time signature 6/8 contains 6 beats, each consisting of an eighth note. They
are usually accented as if there were only two main beats in the measure, beats ONE and four, as previously described
in this chapter.

Simple Time Signatures

(most common in bold)

2/8

2/4

2/2

3/8

3/4

3/2

4/8

4/4

4/2

Compound Time Signatures

(most common in bold)

6/8

6/4

6/2

9/8

9/4

9/2

12/8

12/4

12/2

Music is divided into measures within vertical lines. A single thin vertical line marks
the end of a standard measure. A double line marks the end of a section, which is an important statement in the
music. At the very end of a piece of music, a double line with a thicker rightmost line, marks the ending.

When a pair of dots accompanies a double bar, it signifies that you must repeat music
either from the very front of the piece or front the previous repeat symbol as follows:

The D.C. abbreviation stands for da capo which means from the beginning.

The D.S. abbreviation stands for dal segno which means from the sign. When
you play through the music and come upon a D.S. symbol, you must proceed back in the music and continue playing
from the "S symbol with the / and two dots". When you come upon a "Circle with the plus sign in
it", you skip all measures that exist between that sign and the measure marked "Coda", where you
continue to play. Note that all repeat marks are ignored after making the D.C. and D.S. branches.

In counting measures, the very first measure that is complete is counted as measure number
one. If a measure starts out with a series of notes that does not add up to a complete measure, it is called an
anacrusis, sometimes called the "pick up". Generally, the very last measure in a piece of music
that contains an anacrusis, contains just enough beats when combined with the anacrusis, to create a full measure.